Zdeněk Voženílek’s photographic legacy is once again highly topical not only for its originality but also as a testimony to the years-long development of the capital and its individual housing estates. It is a unique source of information about the life style of his day, the various architectural accomplishments, accompanied by sculptural art, and – last but not least – documentary material for further, more comprehensive historical and sociological studies.

A major part of Voženílek’s posthumous estate consists of his professional photographs, huge numbers of negatives, contact prints and the author’s later prints of architecture made in the 1960s–1980s, as well as of prefab housing settlements and individual buildings.

Yet his most popular photo of all was the simple picture called Winter in Prague of 1960, showing swarms of people on the snow-covered Petřín Hill.

The photographer’s archive also contains documentary photographs of sculptural objects intended for public spaces, including those by Eva Kmentová, Valerián Karoušek, Ladislav Kovařík, Miloš Zet and Miloslav Chlupáč, mobiles by Jiří Novák and works by many other sculptors. Their sculptures were photodocumented soon after they had been installed in place, but many have long disappeared since then.